5.2.07
Submitted by:
Noam Dayan
Shahar Gazit
Stav Daron
Nitzan Nisim
Submitted to: Simona Zilberwasser
Level: 5 points
Research question: What was the uniqueness of the protest songs
at each decade in the 20th century, from the seventies until
nowadays?
A protest song is a song intended to protest perceived problems
in society such as injustice, racial discrimination, war,
globalization, inflation, social inequalities,the Greenhouse effect,
the global warming. Protest songs are generally associated with
folk music, but in recent times they have come from all genres of
music. Such songs become popular during times of social
disruption and among social groups.
The evolution of protest songs
Poems which containd protest have appeard already in the byble,
in the poetry of the prophets, who protested especially about
subject like: idolatry, social corruption, low level of ethics and so
on…
the oldest protest song on record in recent history is The Cutty
Wren from the peasants revolt of 1381 against feudal oppression.
Later on, In the American Revolutionary War and in the abolitionist
movement of the 19th century many songs came about.
During the American Civil War, traditional songs served as protest
songs.
At ninteen century- From 1839, the Hutchinson Family Singers
became well-known for their protest songs, especially songs
supporting Abolition.
At Twentieth century- In the 20th century, the union movement, the
Great Depression, the civil rights movement, and the Vietnam War
(see Vietnam War protests) spawned protest songs, such as Bob
Dylan's "The Times They Are A-Changin'" (1964), Woody Guthrie's
"This Land Is Your Land" (1940). A 1983 protest song that gained
considerable attention worldwide is "99 Luftballons" by Nena. The
common form for protest music during the 1980s often included
acoustic guitar and harmonica, which was popularized by the work
of Woody Guthrie and Pete Seeger early in the 20th Century and
continued into the later part of the century by Phil Ochs, Joan Baez
and Bob Dylan.
The Civil Rights movement of the 1950s and 1960s used AfricanAmerican spirituals as a source of protest, changing the religious
lyrics to suit the political mood of the time. The use of religious
music helped to emphasize the peaceful nature of the protest; it
also proved easy to adapt, with many improvised call-andresponse songs being created during marches and sit-ins. Some
imprisoned protesters used their incarceration as an opportunity to
write protest songs. These songs were carried across the country
by Freedom Riders. [2]
Why did we choose the subject?
 We looked for a subject which would both let each one of us to
explore the kind of music which he likes the most, and let us
cooperate and work together.

Protest song is a subject which contains lot of material from many
years ago, so it wasn't difficult to find material.
 Each member of the group knows at least one protest band.

The subject has strong connection to the world's history.
Protest songs in the 70's
The Civil Rights movement and the escalating war in Vietnam
were the two great catalysts for social protest in the 1960's and
1970's . Many songs and musicians work focused on the war and
civil rights in the United States during this turbulent time.
Roses and Rifles: 60's and 70's Protest Songs
Track
Artist:
Song:
1
Jimi Hendrix
The Star Spangled Banner
2
MC5
Ramblin' Rose
3
The Animals
We Gotta Get Out of This Place
4
Ten Years After
I'd Love to Change the World
5
The Beatles
Revolution 1
6
Donovan
Universal Soldier
7
Thunderclap Newman
Something in the Air
8
The Kingston Trio
Blowin' in the Wind
9
Bob Dylan
The Times They Are-A Changin'
10
Buffalo Springfield
For What It's Worth
11
Country Joe & the Fish
Feel-Like-I'm-Fixin'-to-Die Rag
12
Five Man Electrical Band
Signs
13
CCR
Fortunate Son
14
Crosby, Stills, Nash & Young
Ohio
15
Quicksilver Messenger Service
Pride of Man
16
The Rascals
People Got to Be Free
17
The Temptations
Ball of Confusion
18
Marvin Gaye
What's Going On
19
The Turtles
Eve of Destruction
20
Eric Burdon & the Animals
Sky Pilot
21
The Association
Requiem for the Masses
Comments: This is really basic when it comes to Vietnam protest songs and stuff like that, I guess. It's not all about
Vietnam tho...concerns other social issues of the time as well. Ramblin' Rose isn't exactly a "protest" song, but their
whole style was protest, and the speech at the beginning is pretty awesome. And I had to throw Hendrix's "Star
Spangled Banner" on here too. Nothing really out of the ordinary on here, but I'm already working to find some new
songs from the same era. Suggestions are always good...but don't say "War!" by Edwin Starr. That's about as
obvious as "For What It's Worth" and "Fortunate Son"...except it's not a good song. Besides, aren't we coming up to
our one year anniversary in Iraq? War protest is much needed! John Kerry/John Edwards 2004!
60's and 70's Protest Songs: Leading or Reflecting
From the beginning of recorded history music in some form or other has told the story of life and its beauty, wonder,
struggles, and causes. From the love between a man and a woman to the oppression of people, music and song
have been supplying the soundtrack to life. Music has a tendency to question authority and the status quo that
occasionally is misdirected, misinformed and in some cases just plain wrong. In modern times, because of the
advances in telecommunications, music took on an even more important place in the world. In other words, the
volume could be cranked up globally. The music of the 1960's and the 1970's reflected the generation. The music
gave evidence of what the world was doing wrong. This was expressed and manifested through the protest songs the
artists, and their lifestyles. The music reflected the generation by, being heard rather than just listened to, and lyrics
contained social commentary that was profoundly relevant. The 1960's was home to the Sexual Revolution,
Woodstock, the Civil Rights Movement, the British Invasion and the Summer of Love. A large percentage of the
music that came out of the 60's and 70's was about the words not the. Music reflected the needs and wants of the
loud and proud under 3
Some topics in this essay:
Lee Pockriss, Summer Love, John Lennon, , Kenny Rogers, Mothers Lament, Joplin CCR, Run Run, Music Music,
Oh Protest, 60's 70's, protest songs, rights movement, civil rights, 30 generation, artists 60's, civil rights movement,
rock roll, artists 60's 70's, john lennon, current 30, current 30 generation, set minds fire, mercedes benz, 60's 70's
rock,
Join now to see the rest of the essay!
Top 10 Classic Protest Songs
From Kim Ruehl,
Your Guide to Folk Music.
FREE Newsletter. Sign Up Now!
Folk songs cover topics ranging from historical events to songs about food and cars. However, the songs that stick with us the
longest are generally songs about overcoming struggle; the moments when the world is quietly hoping for change, but one single
Folksinger has the nerve to stand on a stage, open their mouth, and sing out against injustice.
1) "We Shall Overcome" - Traditional/Adapted by Pete Seeger
This tune was originally a slave spiritual. It was picked up during labor strikes in the 1940s, when people changed the original
lyric from "I ..." to "We shall overcome." The song was re-popularized in the 1960s by Pete Seeger. Pete learned the song from a
woman named Zilphia Horton, who was a labor striker at the time. By the time Pete adapted it and taught it to others, it took on
its own life as an anthem in the civil rights movement of the 1960s. listen
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2) "This Land is Your Land" - Woody Guthrie
Woody Guthrie wrote this song in 1940, and it was originally called "God Blessed America For Me." But while recording it in
1944, he decided to change the last line of each verse to "This land was made for you and me." The song is a great tribute to the
working class, and an editorial on the distribution of wealth and power in the America. It's a great call to protest, claiming this
land belongs to us, and noone can take that away. listen
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3) "Blowing in the Wind" - Bob Dylan
When Bob Dylan debuted this song at Gerdes Folk City, he announced to the crowd, "This here ain't no protest song or anything
like that, 'cause I don't write no protest songs." But whether Bob likes it or not, this song became an anthem in the civil rights
movement of the 1960s. The song asks a series of daring questions about the worth of a person. It has since been covered by
folks from Stevie Wonder to Judy Collins. listen
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4) "Give Peace a Chance" - John Lennon
At the end of his week-long "bed-in" in 1969 with his new wife Yoko Ono, John Lennon had recording equipment brought into
the hotel room. There, along with Timothy Leary, members of the Canadian Radha Krishna Temple, and a roomful of others,
John recorded this song. It was the height of the Vietnam war, and this song became an anthem of the peace movement that
summer. It has lived on in its anthemic quality since then during peace movements all over the world. listen
5) "People Have the Power" - Patti Smith
Calling Patti Smith a folksinger would surely upset fans in both Folk music and Rock circles. But her anthem, "People Have the
Power," is one of the most potent, lyrical, lovely protest songs I've ever heard. And it's certainly a big part of what has taken her
work to legendary status. Recorded in 1988, "People Have the Power" serves as a reminder that, as she sings at the end of the
song, "everything we dream can come to pass through our union." listen
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6) "Get up, Stand up" - Bob Marley
With its catchy, repetitive chorus, this song is a shoe-in to be counted among the most timeless protest songs. It's the first track
on Bob's "Burnin'" CD. Although it communicates a decisive rasta philosophy, the tune defies religious and political barriers, and
communicates a universal message about the importance of standing up for your rights. listen
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7) "If I Had a Hammer" - Pete Seeger
This is one of those songs that has seeped so far into the public consciousness that it's included in children's songbooks. It's a
simple, easy song to remember. It so idealistic that people can't help but sing along. listen
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8) "War" - Edwinn Starr
Originally recorded by the Temptations, this song was popularized in 1970 by Edwin Starr. The Vietnam war was at the height of
its conflict, and the peace movement was gaining speed. The song talks about war in general, not specifically the one in Vietnam.
The lyrics raise the question of whether there must be a better way to resolve conflict.
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9) "I Ain't Marchin' Anymore" - Phil Ochs
Phil Ochs was one of the most prolific "protest song" writers on the scene in the 60s and 70s. This song takes the voice of a
young soldier who is refusing to fight in any more wars, after having seen and participated in so many killings at war. It's a poetic
look into the inside of the ugliness of war, and a staunch claim for Och's "War is Over" stance. listen
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10) "Where Have All the Flowers Gone" - Pete Seeger
That Pete Seeger really knows how to write those protest songs. This is yet another classic by Woody's protege. The simple
recurring lyrics make it completely sing-along-able. The story is of the cycle of war, beginning with young girls picking flowers
that eventually end up on the graves of their dead soldier husbands. The recanting of "When will they ever learn" is so pretty and
catchy that it gets sung at peace demonstrations even still. listen
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Bob marley
Early life and career
Bob Marley (born Nesta Robert Marley) was born in the small village of
Nine Miles in Saint Ann, Jamaica. His father, Norval Sinclair Marley,
was a white Jamaican born in 1895 to British parents from Sussex.
Norval was a Marine officer and captain. He was a plantation overseer
when he married Cedella Booker, an eighteen-year-old black Jamaican –
Bob Marley's mother. Norval provided financial support for his wife and
child, but seldom saw them, as he was often away on trips. Bob Marley
was ten years old when Norval Marley died of a heart attack in 1955 at
age 60.
Being of mixed race, or a mulatto, Bob Marley suffered from racial
prejudice as a youth[3] and faced questions about his own racial identity
throughout his life. Regarding his mixed race, Bob Marley once reflected:
"I don't have prejudice against myself. My father was a white and my
mother was black. Them call me half-caste or whatever. Me don't dip on
nobody's side. Me don't dip on the black man's side nor the white man's
side. Me dip on God's side, the one who create me and cause me to come
from black and white." Marley and his mother moved to Kingston's
Trenchtown slum after Norval's death. He was forced to learn selfdefense, as he became the target of bullying because of his racial makeup
and small stature (he was 5'4" (163 cm) tall). He gained a reputation for
his physical strength, which earned him the nickname "Tuff Gong".
Marley became friends with Neville "Bunny" Livingston (later known as
Bunny Wailer), with whom he started to play music. He left school at the
age of 14 and started as an apprentice at a local welder's shop. In his free
time, he and Livingston made music with Joe Higgs, a local singer and
devout Rastafari who is regarded by many as Marley's mentor. It was at a
jam session with Higgs and Livingston that Marley met Peter McIntosh
(later known as Peter Tosh), who had similar musical ambitions.
In 1962, Marley recorded his first two singles, "Judge Not" and "One Cup
of Coffee", with local music producer Leslie Kong. These songs, released
on the Beverley's label under the pseudonym of Bobby Martell[4],
attracted little attention. The songs were later re-released on the album
Songs of Freedom, a posthumous collection of Bob Marley's songs.
The Wailers
The Wailers in the mid-1960s. From left to right: Bunny Wailer, Bob
Marley, Peter Tosh.
In 1963, Bob Marley, Bunny Livingston, Peter McIntosh, Junior
Braithwaite, Beverley Kelso, and Cherry Smith formed a ska and
rocksteady group, calling themselves "The Teenagers". They later
changed their name to "The Wailing Rudeboys", then to "The Wailing
Wailers", and finally to "The Wailers". By 1966, Braithwaite, Kelso, and
Smith had left The Wailers, leaving the core trio of Marley, Livingston,
and McIntosh.
Marley took on the role of leader, singer, and main songwriter. Much of
The Wailers' early work, including their first single Simmer Down, was
produced by Coxsone Dodd at Studio One. Simmer Down topped
Jamaican Charts in 1964 and established The Wailers as one of the hottest
groups in the country. They followed up with songs such as "Soul Rebel"
and "400 Years".
In 1966, Marley married Rita Anderson, and moved near his mother's
residence in Wilmington, Delaware for a few months. Upon returning to
Jamaica, Marley became a member of the Rastafari movement, and
started to wear his trademark dreadlocks (see the religion section for
more on Marley's religious views).
After a conflict with Dodd, Marley and his band teamed up with Lee
"Scratch" Perry and his studio band, The Upsetters. Although the alliance
lasted less than a year, they recorded what many consider The Wailers'
finest work. Marley and Perry split after a dispute regarding the
assignment of recording rights, but they would remain friends and work
together again.
Between 1968 and 1972, Bob and Rita Marley, Peter McIntosh and
Bunny Livingston recut some old tracks with JAD Records in Kingston
and London in an attempt to commercialize The Wailers' sound.
Livingston later asserted that these songs "should never be released on an
album... they were just demos for record companies to listen to".
The Wailers' first album, Catch A Fire, was released worldwide in 1973,
and sold well. It was followed a year later by Burnin', which included the
songs "Get Up, Stand Up" and "I Shot The Sheriff". Eric Clapton made a
hit cover of "I Shot the Sheriff" in 1974, raising Marley's international
profile.
The Wailers broke up in 1974 with each of the three main members going
on to pursue solo careers. The reason for the breakup is shrouded in
conjecture; some believe that there were disagreements amongst
Livingston, McIntosh, and Marley concerning performances, while others
claim that Livingston and McIntosh simply preferred solo work.
McIntosh began recording under the name Peter Tosh, and Livingston
continued on as Bunny Wailer.
Bob Marley & The Wailers
Despite the breakup, Marley continued recording as "Bob Marley & The
Wailers". His new backing band included brothers Carlton and Aston
"Family Man" Barrett on drums and bass respectively, Junior Marvin and
Al Anderson on lead guitar, Tyrone Downie and Earl "Wya" Lindo on
keyboards, and Alvin "Seeco" Patterson on percussion. The "I Threes",
consisting of Judy Mowatt, Marcia Griffiths, and Marley's wife, Rita,
performed backup vocals.
In 1975, Marley had his international breakthrough with his first hit
outside Jamaica, "No Woman, No Cry" from the Natty Dread album.
This was followed by his breakthrough album in the US, Rastaman
Vibration (1976), which spent four weeks on the Billboard charts Top
Ten.
In December 1976, two days before "Smile Jamaica", a free concert
organized by Jamaican Prime Minister Michael Manley in an attempt to
ease tension between two warring political groups, Marley, his wife, and
manager Don Taylor were wounded in an assault by unknown gunmen
inside Marley's home. Taylor and Marley's wife sustained serious
injuries, but later made full recoveries. Bob Marley received only minor
injuries in the chest and arm. The shooting was thought to have been
politically motivated, as many felt the concert was really a support rally
for Manley. Nonetheless, the concert proceeded, and an injured Marley
performed as scheduled.
Marley left Jamaica at the end of 1976 for England, where he recorded
his Exodus and Kaya albums. Exodus stayed on the British album charts
for 56 consecutive weeks. It included four UK hit singles: "Exodus",
"Waiting In Vain", "Jamming", and also "One Love", a rendition of
Curtis Mayfield's hit, "People Get Ready". It was here that he was
arrested and received a conviction for possession of a small quantity of
cannabis while travelling in London.
Main article: One Love Peace Concert
In 1978, Marley performed at another political concert in Jamaica, the
One Love Peace Concert, again in an effort to calm warring parties. Near
the end of the performance, by Marley's request, Manley and his political
rival, Edward Seaga, joined each other on stage and shook hands.
Survival, a defiant and politically charged album, was released in 1979.
Tracks such as "Zimbabwe", "Africa Unite", "Wake Up and Live", and
"Survival" reflected Marley's support for the struggles of Africans. In
early 1980, he was invited to perform at the April 17 celebration of
Zimbabwe's Independence Day.
Uprising (1980) was Bob Marley's final studio album, and is one of his
most religious productions, including "Redemption Song" and "Forever
Loving Jah". It was in "Redemption Song" that Marley sang the famous
lyric,
“
Emancipate yourselves from mental slavery
None but ourselves can free our minds...
”
Confrontation, released posthumously in 1983, contained unreleased
material recorded during Marley's lifetime, including the hit "Buffalo
Soldier" and new mixes of singles previously only available in Jamaica.
Later years
Cancer Diagnosis
In July 1977, Marley was found to have malignant melanoma in a
football wound on his right hallux (big toe). Marley refused amputation,
citing worries that the operation would affect his dancing, as well as the
Rastafari belief that the body must be "whole"
“
Rasta no abide amputation. I don't allow a man to be dismantled.
”
—From the biography Catch a Fire
Marley may have seen medical doctors as samfai. True to this belief
Marley went against all surgical possibilities and sought out other means
that would not break his religious beliefs. He also refused to register a
will, based on the Rastafari belief that writing one acknowledged death as
inevitable and disregarded the everlasting character of life.
Collapse and treatment
The cancer then spread to Marley's brain, lungs, liver, and stomach. After
playing two shows at Madison Square Garden as part of his fall 1980
Uprising Tour, he collapsed while jogging in NYC's Central Park. The
remainder of the tour was subsequently cancelled.
Bob Marley played his final concert at the Stanley Theater in Pittsburgh,
Pennsylvania on September 23, 1980. The live version of "Redemption
Song" on Songs of Freedom was recorded at this show.[5] Marley
afterwards sought medical help from Munich specialist Josef Issels, but
his cancer had already progressed to the terminal stage.
Death and posthumous reputation
While flying home from Germany to Jamaica for his final days, Marley
became ill, and landed in Miami for immediate medical attention. He died
at Cedars of Lebanon Hospital in Miami, Florida on the morning of May
11, 1981 at the age of 36. His final words to his son Ziggy were "Money
can't buy life".[6] Marley received a state funeral in Jamaica, which
combined elements of Ethiopian Orthodoxy and Rastafari. He was buried
in a crypt near his birthplace with his Gibson Les Paul, a soccer ball, a
marijuana bud, a ring that he wore everyday that was given to him by the
Prince Asfa Wossen of Ethiopia (eldest son of H.I.M), and a Bible. A
month before his death, he was awarded the Jamaican Order of Merit.
Bob Marley's music has continuously grown in popularity in the years
since his death, providing a stream of revenue for his estate and affording
him a mythical status in 20th century music history. He remains
enormously popular and well-known all over the world, particularly so in
Africa. Marley was inducted into the Rock and Roll Hall of Fame in
1994. Time magazine chose Bob Marley & The Wailers' Exodus as the
greatest album of the 20th century.
In 2001, the same year that Marley was posthumously awarded the
Grammy Lifetime Achievement Award, a feature-length documentary
about his life, Rebel Music, was nominated for Best Long Form Music
Video documentary at the Grammies. It won various other awards. With
contributions from Rita, the Wailers, and Marley's lovers and children, it
also tells much of the story in his own words.
In Summer 2006, the City of New York renamed a portion of Church
Avenue from Ramsen Avenue to East 98th Street in the East Flatbush
Section of Brooklyn Bob Marley Blvd.[7]
Songs in the 21st century
In the 21st century (correct to February 2007), there are 2 new main subjects which
occupied the protest songs scene:
1) The 911 events and another global terror acts.
2) The second gulf war (Iraq).
For example:
Anti Flag, an American rock-band holding un-American opinions, wrote a song about
the 11.9 events named "911 for peace"
Anti-Flag
»
911 For Peace
It's in the paper every day
I see it in the headlines and I feel so sick, yeah
Another life leaves this world (this world) so full of hate
But short
Short on compassion
Short on humanity
Asking myself in vain, shaken by the shock,
"do we even have a chance?"
I don't wanna die
(I don't wanna kill)
I don't wanna kill
(I don't wanna die)
We are all human.
Let' start to prove it.
This is a plea for peace (world peace)
To the oppressors of the world and to
To the leaders of nations, corporate profit takers,
to the everday citizen
Greed, envy, fear, hate-- the competition has to stop.
When you see someone down, now's the time to pick them up
Set aside your differences and never look back, no
I don't
(I don't
I don't
(I don't
We are
It's time
wanna die
wanna kill)
wanna kill
wanna die)
all human
to prove it.
Isn't everybody tired of the fighting? (hey, hey)
Isn't everybody tired of the killing? (hey, hey)
Isn't everybody tired of the dying? (hey, hey)
Isn't everybody tired fo the hatred? (hey, hey)
Violence.. fighting... killing...dying.. aaaaaaah!!
[excerpt from Martin Luther King Jr.'s "I Have a Dream" speech]
I don't wanna die
(I don't wanna kill)
I don't wanna kill
(I don't wanna die)
We are all human
It's time to prove it.
We are all human
It's time to prove it.
We are all human...
If we analyze the song, we see a here a global call for the world resident to stop
compete each other, to stop to smash each other on the way to the top, to stop eternal
bloodshed. The words " Greed, envy, fear, hate " are reminded in negative
connection.
At the end, part from the human-rights famous activist Martin Luther King is
excerpted, and it shows the humanist and pacifistic attitude of the band.
Another example:
"The offspring", a punk band from California, wrote a song which criticize the the
second Gulf war in Iraq. The song is called "baghdad":
Offspring
»
Baghdad
In your plane int he blue sky
you roam again
words that echo in your mind
make your heart beat faster
this is no vietnam
we will win in Iraq
The president said said, "let it ride"
islam be damned
make your last stand
in Baghdad
Warrior, the time bomb's about to go
what will you feel
will you ever wonder
if that man that's in your sights
ever kissed his girlfriend goodbye
the captain said, "kill or die"
islam be damned
make your last stand
in Baghdad
Great satan, our flags are burning
Now america has fond its young men
in the sand
where their casualty
is just another number
in iraq
the president said, "let it ride"
you will be damned
make your last stand
in Baghdad!
If we analyze the song:
The song is merciless criticize the invasion to Iraq, and also throw
the straight guilty in the war on George W. Bush.
It performs Bush as an anti-Islamic man who only wants more and more
war.
Another interesting point in the song is the comparison between the
war in Iraq to the war in Vietnam, which ended at a US fall.
It's said, at the beginning, the Iraq isn't Vietnam, but the song's
overtone later teaches us other thing.
‫‪Bibliography‬‬
‫‪Wikipedia- http://en.wikipedia.org/wiki/Main_Page‬‬
‫‪Rare.lyrics- http://www.rare-lyrics.com/‬‬
‫הערות לסתיו‪:‬‬
‫אהלן סתיו‪ ,‬זה נועם‪ .‬השארתי לך כמה הוראות לעשות דברים בעבודה‪:‬‬
‫‪ )1‬שים לב שכתבתי בשאלת חקר‪ :‬מה היה מיוחד בשירי המחאה בכל עשור?‬
‫זאת אומרת שצריך בכל עשור להראות מה היה מיוחד בשירי המחאה בו ולכתוב את זה‪.‬‬
‫אז תסתכל על החלק שלי ותראה לדוגמה איך אני עשיתי‪ :‬לקחתי דברים שקרו רק במאה‬
‫ה‪ 21‬ועליהם נתתי דוגמאות לשירים‪ .‬אותו דבר תעשה גם אצל ניסים ואצלך‪ .‬אצל שחר‬
‫כבר יש את זה‪.‬‬
‫‪ )2‬תכניס את החלק של ניסים אחרי החלק של שחר ואחרי זה תכניס את החלק שלך (לפני‬
‫החלק שלי)‪ ,‬אבל שים לב שכל חלק יהיה בדפים נפרדים‪.‬‬
‫‪ )3‬תעביר את כל העבודה לגופן אחיד‪ ,‬לגודל אחיד ולצבע אחיד של האותיות (שחור)‬
‫שיהיה מסודר‪.‬‬
‫‪ )4‬תכניס את המקורות שמהם לקחת חומר לעבודה לבבליוגרפיה (אני כבר הכנסתי ‪2‬‬
‫אתרים)‪.‬‬
‫‪ )5‬תתקן את החלק של ניסים‪....‬וגם תמחק דברים מיותרים אצל שחר‪...‬אם אתה מבין מה‬
‫הוא עשה שם בכלל‪.‬‬
‫‪ )6‬תדפיס הכל לפי הסדר‪ ,‬ואני אביא לכיתה את הקלסר החצי שקוף ואז נכניס את הדפים‬
‫לשם בכיתה‪.‬‬
‫נ‪.‬ב‪ -‬אל תשכח למחוק את ההערות האלה אחרי שאתה מבצע אותן‪.‬‬
‫שזה לא ישאר על הדפים של העבודה‪.‬‬